Comics I Read LAST Week: 9/18/08

Since I was lazy last week and didn't update, I figured I should still write a thing or two about the comics that came out last week. I'm fighting the lethargy by rocking to Silkworm as I type this.

1. INVINCIBLE #52
   Writer: Robert Kirkman
   Artist: Ryan Ottley
   
   Invincible, much like The Walking Dead (and perhaps everything Kirkman writes) is ups and downs. Overall, I find it's strongest when it's more character driven, as most of the main characters in the cast all have interesting back stories and play off each other well. The villains - not so much, so when the story focuses on them I find it gets a bit boring.
   
   The first thing I noticed while reading this is that the new colorist makes the art really shine and stick out. To illustrate the difference, let me just say that if this were an animated series instead of a comic, the old colorist made it look like TV, whereas the new colorist makes it look like a movie. There's a much more subtle gradation between the hues and... Hell, you just have to see it. I'm not artistically inclined enough to describe it accurately.
   
   This issue felt kind of standard when it began: a big rescue mission in which Invincible and his kid brother get sent in. Invincible is being bossy, much like the young Obi Wan, and surprise - kid bro is rebellious and eager to prove himself. I was about ready to think I had already read the thing before when HOLY SHIT! There was a hugely graphic splash page surprise.
   
   I won't spoil what happened, but lemme just say that if anybody was worried it would just be a book about him changing the diapers of his kid sibling sidekick, don't worry - it doesn't seem like this arrangement is going to last that long.
   
   
2. DEADPOOL #1
   Writer: Daniel Way
   Artist: Paco Medina
   
   How can you not like a smart-mouthed, armed to the teeth, smart-mouthed Merc that happens to be aware that he's a comic book character?
   
   Anyone that doesn't is just being too cool for school.
   
   Deadpool is almost invariably hilarious, but there were really only a couple of laughs in this issue. I'm not sure if it's because the comic is just not going to be funny or if it's just because the book hasn't hit its stride yet. I'm hoping it's the latter. Way clearly has a grasp of what makes the character appealing because he was pretty entertaining to read in Wolverine: Origins.
   
   My biggest disappointment is that there is no "Dear Deadpool" column. What the hell? Not only was that the best part of reading Cable & Deadpool, but what is Deadpool going to do with himself if he can't read his own fanmail? Besides that, all he has is killing people, really.
   
   
3. CRIMINAL #5 (Bad Night part 2 of 4)
   Writer: Ed Brubaker
   Artist: Sean Phillips
   
   While this was a pretty good issue, it still felt pretty damn similar to the first issue of the arc: nerdy guy is in deep shit, fucks girl, gets into deeper shit. As much as I like this comic, it really feels like the longer story arcs really feel much more fitting in the trade format. The first story arc, "Coward", for instance, read beautifully in one sitting and felt almost like a full-length crime film.
   
   One thing I never get tired of from reading this comic is viewing Sean Phillips super sexy and gorgeous art. I think if I had the choice of living in a Sean Phillips stylized world over this one, with neon lights splashing together with the reflections off the street puddles and the cars' headlights, with heavily contrasted colors and light, I would take it in a heartbeat. I would even compromise for just one Sean Phillips stylized woman. What bombshells he draws.
   
   I also have to hand it to the guy's storytelling abilities - the faces and body language are incredibly expressive. I think if anybody else was doing the art, so much of the subtext in the interpersonal scenes would go out the window entirely. And I'll be honest, as much as I like Ed Brubaker, much of his work feels kind of sterile and serious, so I think Phillips' subtle painting of emotions in scenes is a big part of why their collaborations feel so much more vibrant than Brubaker's other work.